Friday, August 22, 2008

Free Book

Jay Rose | 08/22- 08:09 AM

I seem to be a premium…

I just learned that BeachTek is giving away copies of my recent Producing Great Sound for Film and Video (3rd Edition, Focal Press, March 2008), if you buy any of their products from their online store.

Saturday, August 16, 2008

What Wired Didn’t Understand about Depth of Field

Art Adams | 08/16- 04:33 PM

It’s not about analog vs. digital, it’s frame size vs. focal length

In the Sept. ‘08 issue of Wired Magazine, in an article about the RED camera called “A Star is Born,” the author states that the difference in depth of field between film cameras and HD cameras is due to “analog versus digital,” with no other explanation. I’ve written this for him and for anyone who wonders why 35mm film and large sensor HD cameras have so little depth of field.

Saturday, August 16, 2008

The Olympics

Scott Gentry | 08/16- 03:14 PM

I attended as a fan, and a camera geek.

I was lucky enough to have attended the first week of the Beijing Olympics and all I can say is WOW!

From an attendee perspective and seeing my first Olympic Games in person, to a traveler and visiting China for the first time, to a video production geek spending way too much time watching how the Olympics was being covered by the world...the experience was one of a lifetime for me.

Bruce Johnson wrote about the job he’d like to have at the Olympics, and I’d like to add that I would have been happy with almost any job. 

I really enjoyed being able to see the array of camera positions throughout each of the events I was able to attend.  Having been a camera operator for Pro Football among other things, the Olympics would have been a dream job.  Every shot a potential shot of a lifetime!  I have great admiration for many of the camera guys as positions required fast movement, constant attention, and of course they were live for all the world to see.  Some of the camera positions, like Bruce mentioned, were fantastic.  Swimming comes to mind with the under water cameras, the water level boom camera, overhead cameras and more.

My wife and I stayed at the NBC hotel (Crown Plaza) across from the Birds Nest, and were able to rub elbows with the producers, directors, on-air talent and more for breakfast and late night drinks.  I have to tip my hat to the entire NBC crew for doing a fantastic job presenting the Olympics in myriad of channels and online alternatives.  Moreover, the friendliness of everyone we met both within NBC and in China in particular was a welcomed treat. 

Now that I am home in the US and watching the rest of the Games from afar, I have a deeper appreciation for the location, the people, and fantastic show.

Saturday, August 16, 2008

Wired Magazine Gets the RED Totally Wrong

Art Adams | 08/16- 02:45 PM

Did anyone fact check this article, or is that just old-fashioned?

I’d like to encourage everyone reading this to pick up a copy of this month’s Wired magazine (Sept. 2008, page 128) and read the article. Then I’d like you to write to both Wired magazine’s editorial department () and the article’s author (Michael Behar, whose email address is listed at the end of the article).

This is one of the SLOPPIEST pieces of journalism I have ever read pertaining to the film industry. Here is the email I just sent to both the author and the editorial department:

Friday, August 15, 2008

RGB and the F23

Art Adams | 08/15- 04:39 AM

The more spectra your camera can see, the more it can do.

The Sony F23 sees hues of colors I didn’t think a digital camera could see. Why?

Thursday, August 14, 2008

The Swing of Things

Art Adams | 08/14- 02:45 PM

Using tilt/shift lenses for good instead of evil

I recently shot a museum project where the style required almost exclusive use of tilt/shift lenses. (We occasionally used a Zeiss 14mm prime, but that was rare.) It was a lot of fun, but I remember how tilt/shifts were a considerable mystery before I used them for the first time. Here’s the nickel tour of how to use these lenses.

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